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Since 2012 many moviegoers have been captivated by the nearly two thousand theaters throughout the world that have installed Dolby’s 3D immersive sound system called Dolby Atmos. Since then Dolby has worked to also make the technology available for live broadcasts, home theater systems and even stereo headphones.
The ITU (International Telecommunications Union) has raised hopes that the first preliminary standard covering VR (Virtual Reality) will be set before the end of 2016. This follows a recent meeting in Geneva comprising some of the main standards bodies in TV, including JPEG, MPEG, DVB and EBU (European Broadcasting Union) as well as the ITU itself.
When a potential new entertainment medium like Virtual Reality bursts onto the Hollywood scene, SMPTE tries to help us understand its implications.
Fairlight is collaborating with DTS and the University of Salford, located in Manchester, UK, to develop a new approach to assist sound engineers with live sports productions.
I was due to write another terminology article and thought doing one that explains the terms, alliances, and standards might be helpful. There is no shortage of new terms, so let’s get started.
When it comes to sports broadcasting, IP technology is changing the game with winning results. The use of IP has the potential to simplify sporting applications making them more cost effective and operationally efficient. From major global sporting events, to the coverage of smaller, niche sports, broadcasters can overcome a number of challenges, including issues surrounding scalability, and tackling the high level of cost and complexity associated with remote production, through the introduction of IP.
Beginning with IBC 2015, the broadcast and production industries have seen an increasingly large investment in IP-centric solutions being offered by vendors. While that is encouraging, customers need to be sure that the performance of a centralized solution is not compromised by a low-bandwidth network.
As the volume of file-based media grows, the requirement for metadata advances significantly. Simultaneously, the number of sources of metadata available expands as each node in the programme chain adds information to the file. And here lies the problem, the amount of information a producer has to search through is increasing exponentially, and no one person will be able to access all of the available data in a coherent way.
